Ceolta Cruit. Coirm cheoil traidisiúnta le micléinn ó Cheol Oirghialla agus a gcairde Ann Heymann, Lisa Butler, Daoirí Farrell. The Melody of the Harp

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1 Ceolta Cruit Coirm cheoil traidisiúnta le micléinn ó Cheol Oirghialla agus a gcairde Ann Heymann, Lisa Butler, Daoirí Farrell The Melody of the Harp A Concert of traditional music featuring students of Ceol Oirghialla and friends Amharclann Mhic Anna Institiúid Teicneolaíochta Dhún Dealgan Déardaoin 21ú Samhain 2013 ag 7in MacAnna Theatre, Thursday 21st November 2013 at 7pm Celebrating 10 Years

2 DkIT TradWeek November 2013 On behalf of Ceol Oirghialla may I extend a warm welcome to you all for our gala concert of traditional music as part of our ten year celebrations of music at DkIT. This concert, which continues our engagement with the musical and historical culture of the Oriel region, is part of the second TradWeek at Dundalk Institute of Technology. In particular, I welcome back two of our successful graduates, Lisa Butler and Daoirí Farrell, who are part of our ever-growing alumni, and our special guest Ann Heymann. Following the success last November of the inaugural DkIT TradWeek, this week we are delighted to celebrate the music of the harp and recognise our close connection with the great harper composer Turlough O Carolan, who was born not far from here and wrote much music in the surrounding region. The study of traditional music is fundamental to our academic mission and is an integral component of both our undergraduate and postgraduate programmes. To date, much research undertaken by Ionad Taighde Ceoil, the Centre for Research in Music at DkIT, has focused on the music and poetry connected to the Oriel region. Central to the performance of traditional music at DkIT is the Ceol Oirghialla Traditional Music Ensemble. Comprising over forty musicians drawn from the DkIT community, the Ensemble enriches the cultural life of the community and the North-East, performing at a number of events throughout the year. Recent performances by the Ensemble include invitations to perform at Birr Castle, Stormont Buildings, the official naming of the Mary McAleese Boyne Valley Bridge, and the visit of An Taoiseach Enda Kenny to DkIT. Events for the second DkIT TradWeek include presentations of Irish traditional music workshops by our students to local school children as part of our on-going community and schools outreach programme. Renowned musician and producer Donal Lunny will feature as guest performer in our masterclass series and on Friday we will host a symposium on harp performance practice. In association with Comhaltas Ceoltóirí Éireann, students will engage in workshops at the local regional centre, sharing their learning with musicians from the North-East region. Gabhaim buíochas le gach duine atá ag glacadh páirte sa cheolchoirm seo anocht agus le gach duine a chabhraigh lena n-eagraíocht. Tá súil agam go mbainfidh sibh sult as an gceol. Dr Adèle Commins Ceannasaí Rannóg an Cheoil Head of Section of Music

3 Clár na Seachtaine Programme for the week Dé Luain 18ú Samhain Turas scoilleanna / School visits Ardee Communiy School Dé Máirt 19ú Samhain Seisiún / Session Leis na mic léinn ó DkIT TradSoc The Spirit Store, 9.30in Ceolta Cruit Coirm cheoil traidisiúnta / Traditional music concert Amharclann Mhic Anna, 7.00in Dé Céadaoin 20ú Samhain Seisiún / Session Leis na mic léinn ó Cheol Oirghialla Harrison s, Blackrock, 9.30in Déardaoin 21ú Samhain Coirm cheoil / Concert Leis na mic léinn ó Cheol Oirghialla Carroll Building, 2.00in Máistir-rang / Masterclass Le Donal Lunny P1078 Carroll Building, 2.30in Dé haoine 22ú Samhain Harp Performance Practice Symposium P1095 Carroll Building, 9.00rn Dé Sathairn 23ú Samhain Ceardlanna / Workshops I gcomhpháirtíocht le Comhaltas Ceoltóirí Éireann Oriel Centre, Dundalk Gaol

4 Comóradh deich mbliana Throughout the 2013/2014 academic year, Ceol Oirghialla is celebrating ten years of success. Ceol Oirghialla has a dynamic and vibrant approach to the study of music and offers exciting and innovative programmes to both undergraduates and postgraduates in a proactive centre of teaching and learning, research and performance. We aim to provide a distinctive and pioneering environment for advanced study, performance and research while recognising and engaging with the diversity of musics and technologies. Over the ten years, students in the Section of Music have been successful in winning prizes in national and international competitions for performance, composition and research. Ceol Oirghialla has been honoured by many prestigious invitations to perform for distinguished guests at notable venues in Ireland and abroad. We have developed a strong community outreach programme and are part of an international education network through partnerships and links with European and American institutions. Ceol Oirghialla has firmly established itself on the cultural map of third and fourthlevel education in Ireland. Into the future, DkIT will continue to be a leading provider of music education in Ireland and contribute to the preservation and promotion of the rich cultural landscape of Oriel. Aíonna Speisialta / Special Guests Daoirí Farrell Still celebrating his success in winning the Senior Men s competition for English singing at Fleadh Cheoil na héireann 2013 in Derry, DkIT graduate from 2011 Daoirí Farrell returns to his alma mater as part of the ten year celebrations of music at DkIT. From Dublin, Daoiri is a folk singer and performer on the bouzouki, guitar and banjo. As well as holding a BA (Hons) Applied Music in DkIT, he is a graduate of the Ceoltóir HND in Traditional Music Performance course in BCFE and the MA in Irish Tradtional Music Performance from the Irish World Academy of Music and Dance at University of Limerick. Daoiri s debut album The First Turn is available from Claddagh Records and he is currently working on some new recording projects.

5 Lisa Butler Born in Carlow town, in a family steeped in music, Lisa first picked up the fiddle at the age of eight. It was through the medium of the fiddle which saw her fledge from a gifted youngster to a highly acclaimed performer, through dedicated practice and immersion in both local and national sessions. It was through these sessions that Lisa's highly lyrical voice was first reluctantly presented to the world. Since then she has been acclaimed as the owner of one of the most lyrical voices in contemporary traditional music, as lead vocalist with Caladh Nua. Her vocals have been described as having the ability to present songs, both old and new, in a style interpreted with sympathetic and intuitive emotion. Lisa specialised in traditional solo performance at DkIT and graduated from the first cohort of students in Now qualified and working as a primary school teacher, Lisa is perfectly poised to present her musical knowledge and undoubted talents to appreciative audiences around the world and to the next generation who follow in her shining wake. Ann Heyman Ann Heymann is today's first Gaelic harper to approach the cláirseach using rigorously applied historical and traditional standards. In 1974 she obtained a Cloghane Castle (Otway) replica and taught herself to play traditional music with long fingernails and a right-handed bass, opposite from modern practice. Though Ann performs as a soloist and has appeared with such notable groups as the Chieftains, Altan and The Rose Ensemble, she more usually is joined by her husband Charlie, a multi-instrumentalist and singer. Ann utilises a range of historical sources, including the Bunting, Robert ap Huw and piobaireachd manuscripts, to musically interpret ports, planxties, cumhas and other Irish harp compositions. In 2012, a Moore Institute Fellowship gave Ann and Charlie the opportunity to Explore the Role of the Cláirseach in the Performance of Early Irish Poetry at the National University of Ireland, Galway. Her visionary use of gold and silver strings not only confirms their historical viability, but gives the medieval low-headed Irish harp an exceptional voice, as can be heard on her latest recording, Cruit go nór Harp of Gold. Author of the instrument s first tutorial, Secrets of the Gaelic Harp (1989), Ann has served for ten years on the faculty of Scoil na gcláirseach.

6 Notaí / Notes In his poem The Melody of the Harp Alfred Percival Graves wrote: A heavenly iris of hope upsprings / From out the tumult that shakes thy strings. Tonight s concert draws from that tumult, not just on harp but on the rich variety of instruments that flavour the soundscape of traditional music at Dundalk Institute of Technology. Three figures in particular influence the repertoire in the programme being presented. Turlough O Carolan ( ), Edward Bunting ( ) and George Petrie ( ) are integral figures in the narrative of the harp and Irish music generally. O Carolan was born in Nobber, Co. Meath before moving to Co. Roscommon where he received his education. He is an important figure in the musical heritage of Oriel. As well as the proximity of his birthplace, he is believed to have met with the Oriel poet Séamus Dall Mac Cuarta (d. 1732) at Ballmacscanlon, about four miles north-east of Dundalk. Here he composed songs in honour of his hosts, Miss Betty MacNeill and her father Captain MacNeill. Bunting was an Armagh-born organist who was employed to notate the music at the 1792 Belfast Harp Festival. He continued to collect subsequently in Mayo, Derry and Tyrone and published his first collection in Arguably the first to collect Irish music in the field, Bunting believed that the harpers were the greatest source of this music. Petrie disagreed with Bunting s view of harpers as preeminent sources and instead turned largely to singers from whom he notated many airs. A violinist, Petrie travelled throughout Ireland in the employment of the Ordnance Survey. He helped form and became president of the Society for the Preservation and Publication of the Melodies of Ireland in 1851, which published the first volume of Petrie s collection in Throughout the programme tongiht, not only does the selection reflect the music of the harp and its importance in Irish social life through the 17th and 18th centuries but the music also symbolises the close cultural relationship between Ireland and Scotland, and the political context of the times. This evening s concert begins in party mood with the music of O Carolan and draws upon his liking for festivities and the consumption of whiskey. The first is believed to have been composed in Co. Louth in honour of the MacRaghailligh family. The second

7 is a setting of a poem by Aodh Mac Gabhrain (d. 1710), possibly the only example whereby O Carolan did not compose the lyrics. It relates to the Christmas festivities held at Dromahaire Castle, Co. Leitrim and was published during his lifetime by the Dublin based Neale brothers in 1724 as part of the first collection of Irish music in print. The third piece is attributed to O Carolan and the lyrics, outlining a conversation between poet and his whiskey, beginning Why, liquor of life, do I love you so, when in all our encounters you lay me low?. The second set also includes a lively tune attributed to O Carolan believed to have originated in the region of Co. Sligo. There are a number of tunes entitled The Humours of Whiskey in the tradition and three are presented this evening. The jig is believed to have been performed by one of the harpers at the 1792 Belfast Harp Festival. The slip jigs performed are from the Breathnach (1963) and Feldman (1979) collections. The subject of Dirty James is King James II/VII, who lost to William of Orange at the Battle of the Boyne in 1690 and subsequently fled Ireland. There is a strong local connection as the king had wintered at the castle in Ardee during 1689/1690. Collected by Bunting, the melody is closely related to the Scottish tune Lesley s March. Though Ireland is one of the few countries to adopt a musical instrument as an emblem of state, many countries identify particular instruments as preeminent in their culture. The Pipa, originally an ancient Persian (modern day Iran) instrument, was introduced into China through the Silk Road around the 5th century. For many dynasties in Chinese history, the Pipa has been a principal music instrument in the Chinese court, performed mostly for the royalties and high ranked ministers. Ambush from all sides is the most representative piece of the martial genre (wu-qu) in the Pipa solo performance repertoire. The piece made a vivid description about the epic battle between the two Chinese Kingdoms, Chu and Han in 202 BCE, which leads to the formation of the Han dynasty (c.202 BCE 220 CE). The music displays the great momentum of the Han army, as well as the desolation of the tragic hero, Xiang Yu the king of Chu, who cut his own throat after his defeat by the edge of Wujiang River, believing that he had disappointed all the people of his kingdom.

8 The date of when this piece was composed and performed can be traced back to the Tang dynasty (7th 9th century); however, the precise date has remained unclear. The earliest notation form of the full piece was found in the Ming dynasty( ), it was first published in Wuxi city of Jiangsu Province as a proper score in 1818, in a collection of pieces of the Pipa music collected by Hua Qiu-Ping. Returning to the Irish harp tradition and the music of O Carolan, Lord Inchiquin is one of many tunes composed for patrons and it was written for the 4th Earl of Inchiquin of Dromoland Castle, Co. Clare, on 24 December The subsequent reel is called The Duke of Gordon s Rant in McGlashan s Collection of Strathspey Reels, c Lord Gordon was popularized by fiddler Michael Coleman ( ), originally from Killavil, near Ballymote, Co. Sligo, who recorded it in New York in The Creggan White Hare describes coursing events that took place in Creggan, Co. Tyrone. After Barney Conway failed to catch the hare while out hunting, he joins a group of sportsmen, with pedigree greyhounds, to hunt the hare, who eludes them. The song Pat Rainey was written by Fergus Russell of Dublin about a famous travelling piper from around the Galway area who would mend pots and pans and entertain people by playing the pipes. The three reels that follow are borrowed from the repertoire of harper Laoise Kelly. The concert continues with more recent compositions in the tradition. The Harp and Shamrock was composed by Pat Crowley who named it after his parents pub in Kinsale, Co. Cork. This is followed by two slip jigs from the Monaghan harper, Michael Rooney (b. 1974). Returning to older sources, Miss Hamilton is a composition of Cornelius Lyons, a harper from Rattoo, near Ballyduff, Co. Kerry in Lyons was the resident harper to the Earl of Antrim and a contemporary of O Carolan. It is followed by the song, translated as I am asleep and don t waken me, which was collected by the great collector Edward Bunting from harper Denis Hempson in This is followed by three reels from the Petrie collection. The first, well known as a song, was collected in 1853 from Teige Mac Mahon of Clare. The air is also popularly played as a polka. The second, most likely of Munster origin, was taken from an O Neill manuscript from The third comes from Leitrim and Petrie, noting the popularity of the tune type in Scotland, espouses the differences between the tune types in the two traditions, noting both differences in melody and the dances that are performed.

9 Clár Bliain a Trí Planxty Crilly / O Rourke s Feast / Ode to Whiskey One Bottle More / The Humours of Whiskey Ambush from all Sides The Humours of Whiskey / Dirty James Lisa Butler agus Daoirí Farrell The Creggan White Hare Lord Inchiquin / Lord Gordon's Love at the Endings / The Drunken Landlady / The Silver Spear Pat Rainey Bliain a Ceathair The Harp and Shamrock / Tír Rafferty / Land s End Miss Hamilton Táimse im Chodladh Is Trua gan Peata an Mhaoir Agam / The Scolding Wife / Lough Allen Planxties Planxty / Jig Trad. Chinese Slip Jigs / Jig Song Planxty / Reel Reels Song Hornpipe / Slip Jigs Air Amhrán Reels Virgo Sancta Brigida Sos Ann Heymann An Cnota Bán / St. Patrick's Day Cumha an Chlerich King James' March to Dublin / Planxty Kelly / Athlone / Battle of Aughrim / Limerick's Lamentation / The Wild Geese Carolan's Farewell to Music Ceol Oirghialla Traditional Music Ensemble The Melody of the Harp Is it the Priest you Want? / The Paper Plate / Kings of Kerry Kings of Laois Believe Me / Piper s Dance / DD Cronin s Lord Louth / Blackwater Foot Eleanor Plunkett / Strike the Gay Harp Jig Slides Clan March Slides Planxty / Reel Planxty / Jig

10 Ann Heymann begins the second act with Virgo Sancta Brigida from Trinity College Mss. 78 & 80 dating from around the 15th Century. An Cnota Bán is the original melody for the well-known song Mo Ghile Mear. St. Patrick's Day was a favorite of harper Patrick Quin (b. 1745), who was especially proud of his harp setting. Cumha an Chlerich is an Irish piobaireachd and this is followed by a medley of music focussed on the futile efforts of James Stuart II/VII to regain the English throne after having been deposed by Parliament in The last piece performed by Ann was composed/played by O Carolan after calling for his harp on his deathbed. The Ceol Oirghialla Traditional Music Ensemble open with a tune from the Petrie collection, sourced through fellow collector J.E. Pigot ( ) to J. Hardiman of Galway. This is followed by three slides popular in the Sliabh Luachra tradition of Kerry and Cork but the first is found in the Bunting collection, noted in Ballinrobe in The Kings of Laois is associated with Colonel Roger Rory O More (c ), a minor Irish noble and the titular King of Laois, who rose to fame as the scourge of the English during the reign of Charles I. It was recorded on the album Ó Riada sa Gaeity (1970). Thomas Moore adapted and wrote English language verse to many melodies from the collections of Bunting, one of the most enduring being Believe me if all those endearing young charms, performed by the Ceol Oirghialla ensemble in jig time. It is followed by a polka collected by Bunting at the Belfast Harp Festival and another from a lesser known fiddle player of the Sliabh Luachra tradition. Turlough O Carolan composed a number of songs and airs in the area around Dundalk including Lord Louth, composed for Mathew Plunkett, 9th Baron of Louth ( ). The lyrics translate as I will pay a visit to Tallanstown, where the most respectable, reputed fellow is, The fine, cheerful Lord Pure descendant and noble heir, who always provided lasting merriment. This is followed by a reel taken from the Petrie collection. The programme concludes with an air reputedly written in honour of Eleanor Plunkett of Robertstown Castle, Co. Meath, the only survivor of a tragedy there. It is followed by the popular jig Strike the Gay Harp. In the words of Thomas Moore: My gentle Harp, once more I waken, The sweetness of thy slumbering strain. Enriched by the work of composers and collectors, reinterpreted for the twenty-first century, our programme echoes Moore s call: oh, breathe for me, And show the world, in chains and sorrow, How sweet thy music still can be.

11 Ionad Taighde Ceoil Centre for Research in Music DkIT Harp Performance Practice Symposium Friday 22 November 2013, Carroll Building, Dundalk Institute of Technology Registration Welcome Opening Address Denis Cummins, President, DkIT Session 1 Chair Dr Sandra Joyce Anne-Marie O Farrell, DIT Lever Design and Transcription for Lever Harp Patrick Connolly, DkIT Frailty : The Compositional Process Coffee Session 2 Chair Dr Daithí Kearney Paul Dooley, UL The Harp in the Time of Giraldus Ann Heymann Three Iconic Gaelic Harp Pieces Lunch Keynote Lecture Chair Dr Helen Lawlor Taking the note: a perspective on the life, work and legacy of Gráinne Yeats Aibhlín McCrann (Deputy Chairman of the Arts Council/An Chomhairle Ealaíon) Session 3 Chair Dr Adèle Commins Úna Hunt, DkIT The Sources of Moore's Irish Melodies: a Re-evaluation Seán McElwain, DkIT Harping in Sliabh Beagh 4.00 Closing of Symposium

12 Ceol Oirghialla Traditional Ensemble Harp: Uilleann Pipes: Helen Lawlor Fiachra Meek, Alphie Ó Maolagáin Tin Whistle: Flute: Fiddle: Suzanne Kierans, Aoife O Connor, Silvia Veverova, Amy Walsh Lora Gilbert, Martha Guiney, Paul McGettrick, Sinéad O Malley Rebecca Byrne, Ling Wei Chua, Seán Keegan, Laura Kenny, Jessica Lee, Ellie McGinley, Marie Mooney Button Accordion: Joanne Cusack, Brianna Madden Piano Accordion: Adèle Commins, Ciara Moley Banjo: Mandolin: Piano: Guitar: Percussion: Bass: Dancers: Bliain a Trí: Daithí Kearney, Ronan Kerr, Marian O Brien, Seán Stringer, Garry Smyth David Bellew, Gary Doyle, Edward Lynch, Catherine Morgan, Matthew O Kane, Brian Slattery David Burke, James McGeehan Mathew Devlin, Cathal Faughnan, Josh Quinn, Brendan MacNamee, Daniel Whelan Siobhán Denton, Ian Molyneaux, Corentin Rivollet Ciarán O Brien, Kieran Parker Róisín Timoney, Rebecca Sillery Ling Wei Chua, Cathal Faughnan, Lora Gilbert, Ronan Kerr, Damhnait McKenna, Seán O Brien, Seán Stringer, Róisín Timoney, Amy Walsh Bliain a Ceathair: James Crehan, Siobhán Denton, Laura Kenny, Oscar Montague, Rachel O Brien Special guests: Ann Heymann, Lisa Butler, Daoirí Farrell

13 Máistir-rang / Masterclass Donal Lunny Thursday 21 November 2013 Considered to be one of the more influential people in the renaissance of Irish music since the 1970s, Donal Lunny has been involved in Irish music all of his life. Born in Tullamore, he grew up in Newbridge, Co. Kildare and studied graphic design in the National College of Art and Design. He was founding member of several of Ireland's most important bands - Planxty, Bothy Band, Moving Hearts and has produced some of the most significant albums of the traditional music revival since the 1970s. He has also written music for many films and theatre productions. Lunny received an Honorary Doctorate in Music from Trinity College in 2008, and was made a member of Aosdána the same year. He continues to divide his time between performance, production and teaching. Masters / PG Dip Traditional Music Studies Dundalk Institute of Technology are launching a Masters / PG Dip in Traditional Music Studies in It is rooted in Irish traditional music, analysing extant music, song and dance forms and contexts, but explores outwards into related traditions which have impacted on Irish music, clarifying linkages, overlaps and borrowing. The course combines academic research, performance practice and the latest technological methods and explores the musical, social and historical dimensions of the folk music traditions of many areas of Europe including Ireland, Scotland, Brittany and Scandinavia. Students engage with the discipline of ethnomusicology undertaking courses in traditional music studies, collection and archiving, popular music theory, transmission and technology. The dissertation/research project provides the opportunities for students to develop an in-depth specialised study, which can be academic or performance based. The programme is designed to inform a variety of interests including musicians, teachers, media commentators, producers and promoters. For further information on this and all courses in music at DkIT contact ann.coffey@dkit.ie or check out

14 Cláracha Acadúla i Rannóg an Cheoil BA Music and Audio Production BA (Hons) Applied Music MA/MSc/PgDip Music Technology MA/PgDip Traditional Music Studies MA/MSc by Research PhD by Research

15 Rannóg an Cheoil Ceannasaí, Roinn Ceoil agus Meán Cruthaitheach, Stiúrthóir, Ionad Taighde Ceoil Head of Department of Music and Creative Media, Director, Centre for Research in Music Eibhlís Farrell BMus (Hons) (QUB), MMus (Bristol), PhD (Rutgers), LLCM, FRSA, Member of Aosdána Ceannasaí Rannóg an Cheoil Head of Section of Music Adèle Commins BA (Hons) (NUIM), PhD (NUIM), HDipEd (NUIM), ALCM, LGSMD Dámh Ceoil Music Faculty Mark Clarke BEng (DCU), MSc (London), DipEE (DkIT), CEng (IEI) Niall Coghlan MA (QUB) David Connolly BA (Hons) (NUIM), MA (NUIM), PhD (DIT), HDipEd (NUIM) Una Hunt BMus (QUB), Konzertfach Diplom (Hochschüle Für Musik, Vienna), PhD (NUIM), DMus (QUB honoris causa) Daithí Kearney BA (UCC), PhD (UCC), HDipED (UCC) Sean Keegan BMus (TCML), MA (UL) Aisling Kenny BMus (NUIM), DipABRSM, ALCM, PhD (NUIM) Helen Lawlor BMusEd (TCD), PhD (UCD), MMus (UCD) Patrick McCaul BSc (QUB), MA (DkIT) Paul McIntyre BMus (Hons) (TCML), PhD (UU), LTCL, DipMus (OU), PGCHEP (UU) Caitríona McEniry BA (Hons), MA (NUIM), MA (York), LRIAM, ARIAM * Paul McGettrick BEd, BMus (Hons) (NUI), MSc (York) Hilary Mullaney BA (Hons) (NUIM), PhD (Plymouth), MA (DIT) Neil O Connor BA, MA (TCD), PhD (TCD) Siubhán Ó Dubháin BMus (Hons) (QUB), MA (DkIT), PGCE (QUB), ALCM Ciarán Rosney BA (Hons) (WIT), MA (DIT), MMus (DIT) * David Stalling BA (Hons) (NUIM), MA (NUIM) Rory Walsh BMus (Hons) (NUIM), HDip Mus Tech, MA (NUIM) Career Break * Cláracha Acadúla i Rannóg an Cheoil BA Music and Audio Production BA (Hons) Applied Music MA/MSc/PgDip Music Technology MA/PgDip Traditional Music Studies MA/MSc by Research PhD by Research

16 Cairde Ceoil Oirghialla If you would like to receive future invitations to our concerts and music theatre productions as part of our ten year celebrations of music at DkIT, please forward your address/contact details to: Tel: For future events check out: Dátaí do do Dhialann Contemporary Showcase 26 November 2013, The Spirit Store Christmas Concert 19 December 2013, Church of the Holy Redeemer South Pacific March 2014, MacAnna Theatre Seachtain na Gaeilge March 2014 Concert with Baker University, Kansas 20 March 2014, MacAnna Theatre Concert with Molloy College, New York 19 March 2014, MacAnna Theatre Choral Concert 10 April 2014 Guitar Ensemble Lunchtime Concert 1 May 2014, MacAnna Theatre Buíochas Derek Farrell Alice Hoey Ann Coffey Stefanie Ratzky Mark Fearon Murt Ó Séaghdha Henry McLoughlin and the Caretaking Staff Fiona Rooney and the Housekeeping Staff Programme: Daithí Kearney and Adèle Commins